Suspended movement, tense body, moment of absolute.

This young man in extension is preparing to throw the discus. To celebrate this Olympic discipline, one of the five of ancient origin, Cesare Malfi has chosen the emblematic discus thrower of the Greek sculptor Myron, a paragon of athletic and virile beauty. Adapting it to the verticality of the wall, he offers us an unusual angle of view for a renewed, dynamic, kinetic reading.

Using flat tints of color, the urban artist breaks down his gestures to accentuate their movement. The bust, pelvis and legs then undergo a revolution supported by color. The ancient statue comes to life. The realism of the sculpted body, painted with an aerosol, is thus magnified by the contrast of these cut-out sections of color.
It is then that the features of a face appear, imbued with another dimension. Clear and naive, simple and incisive, they evoke the softness of a feminine face that comes to rest in filigree alongside this marble anatomy.

A guardian presence or simply a friend. This time abandoning the spray can for the brush, César thus paradoxically reconnects with his first path, graffiti, at the origin of his muralist passion.
Inherited from his elders, Matisse but especially Léger, this linear drawing comes to temper the volume of the statuary, to bring a face to this body, a spirit to this force. But also a modernity to this classicism.

In a syncretic attempt, the artist confronts, in order to better reconcile them, the organic and geometry, volume and flatness, line and color, drawing and sculpture, painting and architecture...
In doing so, he advocates harmony between the genders, bringing a feminine presence to sporting games originally reserved for men, and thus renews the ancient concept of Kalos Kagathos where body and mind move in concert.

Bastille Wall, Paris, June 2024.